|1980s Broadwood Letterhead|
The hammers had been recovered, but not terribly well - the high treble hammers jammed against the front edge of the wrest plank. Not too much of a problem for most players, but we tuners like all the notes to work!
The rich colours of its rosewood case, made it a very fine-looking piece of furniture. The flat wooden pedals always look odd to modern eyes but at least they are the 'real thing' - if they had ever been replaced with modern pedals, it would no longer look the part.
The ivory keys were still white and still had a shine to them. Some were worn thin in the middle of the playing surface, but this is not surprising after more than a century's use. So often, the original ivories are yellowed with age, and usually a few of the originals have been replaced with ill-fitting substitutes.
So there it was, this remarkable old piano, in a charmingly renovated house that was even older than the piano, - a perfect setting for so well-preserved an instrument. The fascinating thing is that after 150 years, this piano is still regularly played, loved and appreciated. John Braodwood & Sons certainly knew how to build a piano that would last!
The second piano is another grand - the serial number of this piano does not fit neatly into any of the categories listed in the Pierce's Atlas, but I reckon it must have been made about 1860.
The case, for its age, is stunning - the rich Rosewood veneer still boasting the bold stripes of the grain. The polish has been preserved to the point that most would not think it in need of any particular attention.
But from a tuner's point of view, the most remarkable thing is that it is only a little flat in pitch - (I believe when this piano was built, the standard pitch was a little lower than A 440.) Over the years, 2 bass strings have been replaced, and couple of treble strings - apart from these, the strings are those fitted when new! A few treble strings are absent. The original oblong tuning pins still holding firmly in the original wrest plank!
The piano is regularly used for a to accompany singers, occasionally for concerts but is always appreciated by pianists and audiences alike. Live music is still a wonderful social phenomenon that dates back to long before this piano was made.
The action is one of the odd incarnations of Broadwood's own design but still playing acceptably and capable of expression and colour. The tone is the one big give-away, but even here, the sound is extremely good for its type.
These grand old pianos are from a time when serious craftsmen built everything to last, a time when gentleman tuners wore hats. If I had a hat, I would take it from my head as a mark of respect, a salute to the beauty of esteemed craftsmanship. These pianos are works of the piano-maker's art.
© Steve Burden